Arthur Ruck, London, 1930
P. & D. Colnaghi, London
Otto Gutekunst, London, 1930
P. & D. Colnaghi, London
Leicester Galleries, London, 1948
The Lord Clark OM CH KCB FBA, Saltwood Castle, 1950
Thence by descent to the previous owner

2023: RODIN DALOU, Eros Gallery, 1-22 December
2014: Kenneth Clark: Looking for Civilisation, Tate Britain, London 
1953: Rodin, Roland, Browse & Delbanco, London, no. 4

Chris Stephens et al, Kenneth Clarke: Looking for Civilisation (London: Tate Publishing, 2014).
Judith Cladel [translated by Lucy Norton], Rodin, exh. cat. (London: Heinemann, 1953).

Auguste Rodin (1840-1917) was a dominate figure in the world of sculpture throughout his career, although his influence reaches far beyond his years and continues today. The importance of Rodin's work cannot be overstated. Indeed, with its vitality and animation his pieces are considered to have shaped the future of sculpture and defined the modern age. Rodin's figures were inspired by classical Greek and Renaissance art, albeit he pared back narrative references to classical gods and muses by sculpting naturalistic figures whose forms reflected distinctly modern representations of love, thought and physicality. Rodin was also deeply influenced by the literary works of the Italian poet, writer, and philosopher Dante Alighieri (1265-1321), whose epic poem the Divine Comedy (c. 1320) gave rise to some of Rodin's most famous creations - The Kiss (1882); The Thinker (1904); and The Gates of Hell (c. 1880-1917).

His monumental masterpiece The Gates of Hell, for instance, comprised over two hundred and twenty five figures and groups modelled as players for this arresting construction. The Gates of Hell were initially commissioned for the new Museum of Design in Paris, but even after the plans were abandoned Rodin continued to develop figures piecemeal over a period of thirty-seven years. The artist would never see the work completed in bronze, with the process finished posthumously, but the figures Rodin formed for his gates were a vital source of inspiration for the rest of his career.

Rodin’s contemporary success did not come without controversy. One figure, in particular, scandalised the art world, with some critics suspicious of Rodin’s methods because his breakout piece was so lifelike. The Age of Bronze (1876) depicted a moment of awakening – to suffering or to joy – and was sculpted over the course of eighteen months. However, Rodin faced accusations of fraud and he was left with little choice but to vigorously deny the charges of casting from a living model, which he was only able to disprove due to the photographic records he kept from his work in the studio. Such questions of authenticity, naturally, are testament to what has been described as Rodin’s sublime talent.

Likewise, The Kiss, which was originally conceived as part of The Gates of Hell but was later completed as an independent piece, faced considerable critical censure. For conservative critics, Rodin’s entwined lovers were viewed as problematic because they were seen to depict uncontrolled carnal desire, illicit in its nature and explicit in sexual infatuation – based as it was on the characters of Paulo and Francesca from the Divine Comedy, who were punished for their transgressions and doomed to wander eternally through the corridors of Hell. The sculpture was censored on several ocassions in exhibitions, which included secluding it for viewing in a separate room and, in one instance, excluding it from view altogether. In contrast to his detractors, Rodin understood The Kiss to represent the height of happiness and sensuality, and its status today as a cultural icon is such that it remains one of his most recognised and reproduced sculptures alongside The Thinker. Despite such early critical disapproval, Rodin achieved a level of fame and international popularity that was unprecedented for a sculptor.

The Musée Rodin summarised his achievements and contributions to art and sculpture when they observed that

'his genius was to express inner truths of the human psyche, and his gaze penetrated beneath the external appearance of the world. Exploring this realm beneath the surface, Rodin developed an agile technique for rendering the extreme physical states that correspond to expressions of inner turmoil or overwhelming joy. He sculpted a universe of great passion and tragedy, a world of imagination that exceeded the mundane reality of everyday existence'.

Eve, modelled in 1881, was intended to flank the gateway alongside her biblical and sculptural partner, Adam. The pair were initially designed to be mounted separately from the main body of the doorway to create contrast, but ultimately would not be cast in bronze until 1910, and then as commissions for the Metropolitan Museum of Art in New York. Rodin sculpted Eve in the grips of despair, her body wracked by grief after her expulsion from Eden. Like her fellow figures, her feelings are expressed through an exaggerated physicality necessary for a monument of this size and scope.The Gates of Hellwould ultimately come to act as a monument to Rodin’s enduring brilliance.